Notes and Editorial Reviews

Let's get right to the point: This Christmas disc belongs in the library of every choral music lover. Not only does it feature some exceptional repertoire--both in terms of quality and relative rarity on recordings--but it also offers some of the most extraordinarily fine choral singing you'll hear anywhere. Recorded in the excellent acoustics of Dresden's Lukaskirche, this program will keep you riveted and will enrich your listening not only during the holidays but whatever time of year you choose. This choir is unsurpassed in the purity and warmth of its tone, its clarity of diction and of musical lines, its consistent near-perfect intonation, its refined, expressive ensemble technique, thoughtfulRead more interpretive choices that fully engage listeners, and unassailable musicality.

If you want to get a quick idea of the group's superior ensemble skill, just go to track 16, Max Reger's simple, delicate setting of O Jesulein süß; and if you want to really hear the choir's breadth of expression, try Poulenc's O magnum mysterium or Rheinberger's beautiful motet Ave Maria. But then, the program is so diverse and so rich in harmonic and melodic treasures, you're best off just starting at the beginning (with Schütz's Tröstet, tröstet mein Volk) and staying put for the next hour, until the final chord of Eusebius Mandyczewski's lovely setting of Stille Nacht has died away.

In between, we hear some fine Brahms motets and two delightful 16th-century pieces--one by Johannes Eccard, the other by Cornelius Freundt--along with first-rate renditions of Arvo Pärt's Magnificat, Poulenc's Hodie Christus natus est (from his Quatre motets pour le temps de Noël), and Mendelssohn's catchy little song Frohlocket, ihr Völker. But the highlight of the disc has to be Jan Sandström's absolutely otherworldly setting of Es ist ein Ros entsprungen, which can only be described as Praetorius meets Ligeti--and it's a knockout. Unfortunately, the liner notes give no information on the music other than titles and composers, and texts are only in German or Latin. But don't let that stop you. The music and performances speak for themselves, and in that department, even the Angel Gabriel himself would have to approve!
--David Vernier, ClassicsToday.com Read less